Film Reviews by Steve

Simply beautiful romantic drama adapted from Patricia Highsmith's 1952 novel. It is set within that period, but is also like a hallucinatory dream. An inexperienced shopgirl (Rooney Mara) has a muted, but life-changing affair with an older married woman (Cate Blanchett as Carol) struggling through a hostile divorce.

This is on the threshold of the Eisenhower decade so the forbidden liaison threatens access to her young daughter. There is some thematic content about the limited rights and freedoms of homosexuals, but this is more intensely the story of an affair. Director Todd Haynes captures the narcotic disorientation of new love

This is principally through the gorgeous expressionist photography. But also the period set design, à la Edward Hopper. And the irresistible performances of the two stars. There is nuance; this not just about their transformative sexual attraction, but also how this is impacted by class, wealth, background, gender, age...

There is an abundance of good taste, including the score, the fashions, the brief sexual content, the muted, sometimes nebulous colours, and the understated script. If that also implies the tempo is adagio, then that is also true. But this is a heartbreaker. More than the social issues, this is about the mysterious complications of desire. 

RoboCop- the cyber law enforcement agent played by Peter Weller- is essentially a hybrid of Dirty Harry and the Bionic Man. And RoboCop- the action/SFX blockbuster directed by Paul Verhoeven- is satirical, dystopian futurism, like Judge Dredd. Its theme of the corporate ownership of justice now applies even more than in 1987.

And its pre-digital effects and stunts look better than they ever did. In the shabby, near-future Detroit, society has collapsed due to violent organised crime and rapacious white collar greed. Weller plays a police officer killed by the gang of feral criminals which runs the illegal trade in narcotics.

So Omni-Consumer Products reanimate his corpse into an inexorable agent of law enforcement; part human/part machine. And who wouldn't want an omnipotent robot to wash the scum off the mean streets. Even if it ultimately reports to the board? Inevitable, the gizmo runs amok when the dead cop's memories reassert themselves…

There's a recycled plot and the cast can’t do much with a banal script; we mostly just see Weller’s mouth behind the mask, spitting out secondhand Arnie-isms. But the premise, even if not original, is still interesting and relevant. And it’s great see the state of the art effects just before CGI turned action pictures into cartoons. 

It gave us something we never knew we wanted; the Christmas action film. Bruce Willis delivers performances from either extreme of his range; vest on and vest off... But he's well cast as a stubborn New York cop who touches down in LA to save his marriage... then rescues his wife and her wealthy colleagues during a heist on their global corporation. 

It's a conservative Howard Hawks western set in a skyscraper. Public officials are incompetent or corrupt so the individual must protect what's his with a handgun. It's full of references to westerns, and the detective is likened to John Wayne. We get stunts and explosives, yet this is a blockbuster heavy with thematic content...

LA v NY... Gender issues... Corporate greed... The blue collar Irish-American Catholic takes down educated, white collar Europeans in a triumph of moxie over sophistication. Willis delivers the payoff one-liners with wry charisma and Alan Rickman sports the goatee of evil with relish. When these two are in conflict, this is a lot of fun.

The slim premise is overstretched and I'm ill-disposed to its politics. And stupid things happen all the time. But it's that sort of film. If you can suspend disbelief and disregard the overload of subtext, it's a high-octane action picture with some feel-good comedy and a hero you can root for. It's a classic of its genre.

Ultra-suspenseful western expanded from a short story by Elmore Leonard. There are many effective changes from the 1957 adaptation by Delmer Daves. That was a psychological noir mostly staged in studio interiors. This retains some of the mind games but is an action film shot on location. And is much more violent.

A killer outlaw (Russell Crowe) is captured after a bloody stagecoach heist and escorted across Apache territory to catch a train to Yuma for trial and imprisonment, while his psycho-comrades attempt to free him. The last guard standing is a rancher (Christian Bale) who needs the $200 fee to save his barren fields and suffering family

And the feeling of jeopardy builds as he nears the departure time and the murderer tries to get inside the farmer's head. The stars don't quite equal Glenn Ford and Van Heflin in the original and Crowe's smirk gets a bit tiresome, but they are fine. Ben Foster makes an impact as the pitiless gunman leading the remainder of the gang.

The muted colour photography brings atmosphere. There's a decent script with interesting subtext about frontier justice, and an Oscar nominated score. The idea is overextended but still compelling and James Mangold directs with some style. While this doesn't surpass the Daves classic, it's a thrilling western on its own terms.

Really strange range war comedy-western which feels like several unrelated episodes stuck together. It's known by film anoraks for Walter Brennan's third Oscar in five years for best supporting actor, which led to a change in the voting rules. But he just gives his standard performance. May as well give it to Gary Cooper's horse.

It begins as a long whimsical conversation between Judge Roy Bean (Brennan), and the nonconformist saddle tramp (Cooper) he intends to wrongfully hang. This is mostly about the lawman's obsession with Lily Langtry, which apparently is factual. Then it morphs into a battle between the homesteaders and the cattlemen...

And then a weird climax where the hanging judge is gunned down in an empty auditorium where the Jersey Lily is booked to appear. It's a mainstream western, so there's a gunfight, a punch-up and a bashful romance. There's everything but a theme song by a vocal group of Irish baritones.

Cooper tried to get his role cancelled, then left the studio directly afterwards. And it shows. It's also astonishing that this mishmash was directed by the illustrious William Wyler! Still, it's a popular b&w western which passes quickly and fairly painlessly. And the anoraks may be charmed to briefly glimpse the beautiful Lilian Bond as Langtry.

Like many directors, Christopher Nolan's first commercial feature is a neo-noir. Normally this allows for some preliminary artistic visuals on a low budget. But apart from a counter-narrative in b&w this isn't the case. There is no expressionism. But there is an exploration of genre themes and motifs.

Most obviously, there are the ostentatious flashbacks; the whole raison d'être is the backwards narrative. And there is murder; a male dupe and a femme fatale; a hero who can trust no one; and a pervasive aura of futility and paranoia. The extensive voice over narration pulls it all together, but there isn't much literary polish...

And the dialogue lacks sparkle. Guy Pierce plays a bereaved husband searching for his wife's killers... with the significant impediment of having lost his short term memory. The performances are functional, but limited because the characters are cyphers designed to serve the concept. The gimmick is the whole show.

The story told forwards would be of little interest and the trick only really works once. Continuity must have been a challenge, but there are no obvious glitches. There's a moody score and the usual locations suggestive of transience: bars, motels and diners. It's an interesting experiment which should appeal to curious noir fans.

Glossy remake of La Femme Infidèle (1969) which is quite faithful to the plot, but considerably alters the emphasis and mood. The French original is a psychological thriller, and this is more of an erotic melodrama. It's a date picture for grownups who can explore the provocative theme of adultery afterwards over dinner. Plus there's the chic lifestyle decor to aspire to.

Diane Lane plays a contented housewife with an attentive husband (Richard Gere!), a spirited kid and a lovely home in the suburbs But she's become a bit of a nag and isn't doing much with that college degree. She loves her family but is in a comfortable rut. When she literally runs into a sexy Frenchman (Olivier Martinez) with a Bohemian loft apartment, well what's she going to do?

Except her adultery sets in motion a chain of consequences which may take away everything she has. Lane is extremely good and wasn't flattered by her Oscar nomination. Though her co-stars don't make much of their conventional roles. Naturally, Adrian Lyne doesn't do suspense as well as Claude Chabrol. It lacks subtlety and is loaded with clunky symbolism.

The major debit is it botches the brilliant climax of the original, because it supposes the audience will not appreciate its unspoken implication. But presumably, the twist is why there is a remake at all! Still, it works as an entertainment. There's a tasteful soundtrack and it looks gorgeous, with its love triangle of beautiful people and just a shade of neo-noir. 

Another tale from the neighbourhood... Martin Scorsese directs the memoir of Jake LaMotta, the Bronx Bull, former middleweight champion of the world (1949-51) and a legend as the boxer who put Sugar Ray Robinson on his back. There's a strange clash of styles, with the neorealism of the b&w photography, but also the sinuous, poetic Oscar winning montage.

Plus all the slo-mo artifice of boxing as ballet. Scorsese benefits from the landmark portrayal by Robert De Niro which is famous for his obsession with authenticity, including the massive weight gain and real-life boxing contests. The action is phenomenal and Scorsese/De Niro really communicate just how primal LaMotta was at his considerable peak.

But most of the suspense is generated by the anticipation of this violence bleeding into his personal life. The script apparently soft-pedals on this, and we mainly get the incessant verbal bullying of his wife (Cathy Moriarty) and his idiot brother/manager (Joe Pesci). But some is physical. The raging bull also threw fights and later sold booze to kids. 

Scorsese saw it as a redemption story. But the champ's arc is from delinquent, to wife beater, to bum. This is not tragedy. When Jake and his brother are in long, vacuous conversation, it could almost be comedy. But for the brutality. It has value as an amazing looking boxing picture and for De Niro's 4real performance. But this is not entertainment.

Everyone knows this is the third film to win the big five at the Academy Awards. Which was well deserved for Jonathan Demme's hyperkinetic direction plus the outré performance of Anthony Hopkins as Hannibal Lecter, the imprisoned flesh eating serial killer who may be able to help the FBI in their investigation into another psychopathic murderer...

Jodie Foster was also recognised as the anxious but intuitive FBI recruit who liaises with a convict so threatening, his entire world has been reduced to zero. So he lives inside his massive intellect. The Oscar for the screenplay is more contentious, as there's not much the scriptwriter can do with the narrative from Thomas Harris' bestseller which falls apart under modest analysis.

Still, the direction, the rapid editing and ostentatious characterisations mostly obscure the flaws. There's a genuine frisson of Hitchcock going on. And the fetish/gothic feel to the incarceration of Hannibal (the Cannibal) sustains a palpable sense of jeopardy all the way. There are some extremely compelling set pieces... Including Lecter's incredible escape...

...And the nerve shredding climax, which is shamefully manipulative, but still, a blast. It's a landmark horror-thriller and a must-see work of suspense. Though it's apparently controversial for its critical portrayal of a transsexual. By the way, has anyone else won an Oscar with a performance as restricted as Hopkins; inside the cell, often behind a mask?

Maybe not quite at the level of the Wallace and Gromit short films for the dose of sweet joy they impart, but the much loved claymation duo's first feature is still extraordinary, and the animation even a little more sophisticated. And it successfully sustains the magic formula over a longer format. Our heroes are still funny, and uncannily heartwarming!

It was made for DreamWorks, so there is a pair of proper stars for the publicity. Helena Bonham Carter is the lady of the manor who Wallace has a crush on, and Ralph Fiennes his idiot rival. But it doesn't compromise on the quintessential Englishness. Thankfully, Peter Sallis returns to voice Wallace. And it is dense with quality puns and other dad jokes...

The inventor and his companion are in business protecting local gardens and allotments as the annual prize vegetable competition approaches... But Wallace disastrously gets his pest control apparatus mixed up with a brain moderation gadget and creates a giant... well, a were-rabbit. The science isn't clear... but it's extremely hungry.

Gromit must save the day, again. The suits didn't like its parochialism and dropped the Aardman contract. Even though much of this was inspired by Universal horror. Still, it's a milestone in screen animation both in terms of craft and content. And a family film that appeals to adults and children alike. Yet it's more; W&G make the world seem kinder, and more charming.

Nostalgic WWII memoir approximately based on the experiences of its writer/director John Boorman as an 8-11 year old during the London Blitz. With the men away, he grows up among the females. His mother is middle class, but hardly Mrs. Miniver and has little control over the boy who runs wild with his gang among the bomb-sites...

...While his incredibly self absorbed 16 year old sister gets pregnant by a Canadian soldier. There's a likeable performance from 11 year old Sebastian Rice Edwards as the boy who lives in his imagination more than the realities of the home front. Sarah Miles is appealing as the mother. There is a palpable impression of an actual family.

This is very like Woody Allen's Radio Days, released the same year. It's mostly an ensemble comedy with period atmosphere from popular songs and newsreel. And it's incredibly moving at times. There is generational stuff about how these events changed those who lived through them. And their unassailable patriotism.

The best moments are loaded at the front, during the Blitz. The later scenes on the river with grandad are amusing, but don't have the emotional pull. The period detail is accurate, but this is not realism; the real hardships are filtered out. It's an account of the unusual freedom and adventures of one too young to see the big picture. 

Critically adored '90s neo-noir skilfully adapted from James Ellroy's even more labyrinthine crime novel about corruption in the LAPD after WWII. This is set in the early 1950s and there is plenty of rich period atmosphere and weaves a few real life incidents from the bad old days into a fictional account of vice, murder and narcotics in Hollywood.

It begins as an investigation by three contrasting detectives into the murders of an off duty cop and a sex worker fixed up to resemble Rita Hayworth. Then is complicated when the threads lead back to their own department. Kim Basinger won an Oscar as the agency's Veronica Lake lookalike. Plus there is a well chosen support cast...

But the screen is dominated by the three stars. Guy Pierce is the square jawed but devious new recruit with an instinct for self advancement. Russell Crowe is a kind of a battering ram in a cheap suit. Kevin Spacey is a showbiz cop who liaises with television and runs a blackmail scam on the side. His death scene is truly phenomenal.

 There isn't much subtext, aside from how out of control the LAPD got, which maybe relates to present times. The sexism/racism/brutality is off the chart. This is an articulate, complex, hardboiled crime story. The voice over, the smoky jazz score and the '50s LA production design make this feel like classic noir; and a sugary treat for genre fans.

Eccentric medieval comedy-adventure which imagines Robin Hood (Sean Connery) returns from the Crusades to reunite with his band of freedom fighters/bandits, and for one last time resist feudal oppression and the Sheriff of Nottingham (Robert Shaw). And rekindle the embers of his long ago romance with Marian (Audrey Hepburn).

Except, they are much older and a little wiser. The humour touches on the absurd, but the film mainly resonates because of its melancholy. Robin reflects on a life misused by the ambitions of idiot kings, the murder in the name of god and all the senseless slaughter and persecution. Plus regret for his great lost love.

It's an arthouse adventure, with more dialogue than action. There's a sweet score from John Barry, ambient locations (in Spain) and an authentic feel for the period, despite obvious budget constraints. Also, an immense cast of British actors as the legends who have grown weary and shabby. There's Richard Harris as the Lionheart...

...Nicol Williamson as Little John... Ronnie Barker as Friar Tuck! And many more! But Connery dominates. It also addresses Robin as a mythic figure. Some momentum is lost in the last third, but recovers for a lovely, elegiac finale. There is something of Monty Python in the comedy, but also bass notes of anguish and mortality. 

Allegorical revenge western set after the US Civil War, with Liam Neeson relentlessly/ruthlessly hunting Pierce Brosnan from the frozen peaks of Oregon all the way down to Death Valley, California- where they reference the famous climax of Greed (1924). An internet search informs that a Seraph is the highest of the Christian angels...

So the title gives us the symbolism. Though this is actually the main weakness, especially in the closing moments when Angelica Huston turns up in a gypsy wagon to beat us over the head with it. This is best as a simple revenge story with strong performances, primarily from Brosnan, barely recognisable under the facial hair.

And it's a survivalist western too as the quarry must take extreme measures to stay alive, particularly in the subzero mountains. The scene where Brosnan removes a bullet from his arm with his trusty old knife is hard to watch, and the visceral horror of what it takes to cling on offsets the literary pretentiousness.

The spectacular, almost palpable photography across many states creates a sort of mythic arena for the deadly pursuit. Until the escalating consequences of their hostility drives the two men into a state of degradation. This is all derivative, but usually of interesting films, and the Irish leads give it some potent star wattage. 

Mythic Vietnam war allegory inspired by Joseph Conrad's 1899 classroom classic, Heart of Darkness. It's an extraordinary looking technical triumph, particularly with the ostentatious editing and the Oscar winning photography and sound. Francis Coppola contributes an impressive flair for visual narrative and spectacle.

Martin Sheen plays a special-ops soldier who must travel downriver through the horror/insanity of war to terminate an officer who has gone rogue. It's an odyssey into the interior of the country, as well as the assassin's psyche as he comes under the same pressures which set adrift the rationality of Colonel Kurtz.

It's a flawed masterpiece mostly because all this operatic bombast merely restates that war is hell, however persuasively. The initial narrative impetus is slowly lost. OK, it depicts a psychedelic journey which becomes more surreal as the party floats downstream... but also less compelling. And the climax is squandered.

Marlon Brando gives the closing scenes some folkloric weight, but is oddly presented like a confused west coast hippie cult leader- with an interesting library of modernist classics- rather than the essence of the heart of darkness. Still, it's a landmark Vietnam war film full of memorable scenes and dialogue. My pick is the longer 'redux' version.

*Warning- the film features the inhumane slaughter of a living animal.